Vibraphone in ensemble music of the 21st century (on the example of D. Lazariev’s Trio for flute, vibraphone and piano)

Statement of the problem. The article examines the issue of ensemble performance with the participation of the vibraphone. Modern ensemble works, where the vibraphone performs in various functions, reflect the versatility and innovation of musical practice of the 21st century. At the same time, the academic branch of chamber music-making with the participation of this instrument still remains insufficiently covered in the musicological sphere. Objectives, methods, and novelty of the research. The purpose of the article is to demonstrate the functioning of the vibraphone in a modern ensemble using the example of Trio for flute, vibraphone and piano by the Kharkiv composer Danylo Lazariev, as well as to determine the place and role of this instrument in today’’s chamber music. In addition, the article aims to fill certain gaps in research related to ensemble playing on the vibraphone, which determines the novelty of the results of this study. The disclosure of the stated topic was facilitated by the use of a number of research methods: historical and comparative to determine the main stages of the formation and development of the art of playing the vibraphone and to clarify its modern role in chamber ensemble music; musicological and performance analysis to study the functions of the instrument in the system of musical expressiveness of the work, innovative techniques of playing the vibraphone and their influence on the nature of the ensemble sound. Research results. As the analysis shows, the vibraphone can perform various roles in the ensemble, which vary depending on the musical context and artistic intent of the work. 1) A solo role in certain fragments of the work, which demonstrates the instrument’s ability to complex timbre and dynamic transformations and allows creating an atmosphere of tension or, conversely, relaxation, depending on the semantic context. 2) An accompaniment function, which involves merging the timbres of the vibraphone with other timbres (flute and piano), enriching the texture and harmonic components of the ensemble (which creates an additional dimension of the sound space) and supporting the overall rhythmic pulse. 3) The role of a participant in a dialogue with other instruments. In such cases, it acts as an independent equal ensemble partner, which adds flexibility and dynamism to the overall compositional structure. 4) Semantic function. Due to its special timbre characteristics, the vibraphone can embody both mysterious-mystical and meditative, as well as emotionally saturated, confusing and turbulent images, creating unique sounds that expand the boundaries of the ensemble’s expressiveness. Conclusion Thus, the vibraphone demonstrates its versatility, finding itself in different positions, depending on the requirements of the work and its stylistic direction. The versatility of this instrument not only enriches the ensemble, but also expands the sound and emotional possibilities of chamber music, opening up new paths in the field of musical expressiveness for performers and listeners.